For TV, Digital Masking and Compositing, Commerical, Video, and special effects.
Brand New 9' x 25' chromakey green seamless muslin backdrop
(other sizes available in our store: 9x12, 9x10, 9x18, 9x30, 6x6, 6x9, 6x12, 6x15, 11x11, 11x15, 11x20, 11x25, 11x30)
Medium weight 12oz/yard cotton muslin seamless backdrop, with 3" rod pocket on 9' side for background stand mounting (sold separately at our eBay store). Machine wash/dry. Iron or steam for wrinkles. Woven with green threads, not dyed. won't bleed in the wash.
***Backdrop ONLY. Stand, bag, and Cds available in our store.
Fabric colors can vary from their representation on the Website due to monitor settings, dye lots, etc.,
We manufacture our own backdrops, so you don't pay a middle-man handling fee; that is why we can offer such great prices on quality merchandise - we have fabric manufactured for us, and buy in bulk, directly from the mill!
Chromakey Backdrop FAQs for Photography
What are the basics I need to begin digital compositing?
1. A chromakey blue or green backdrop.
2. A way to get your images onto your computer
o Digital Camera
o Photo or film scanner
o Many photo labs can also take your film negatives and put them onto CD ROM or diskette.
3. Any of our Virtual Backgrounds on CD.
4. A photo editing software program such as Adobe Photoshop®, Corel PhotoPaint®, PaintShop Pro®, or one of many others, which allows masking.
How to Combine Multiple Digital Photos into One
You can easily combine several digital photos into one, copying part of one photo and pasting it into another by using your image-editing software. To combine images:
ChromaKey Green –
Advantage: Most photo editing software programs can easily recognize chromakey green, making post-production quick and easy. Very unlikely your subject will have any coloring or clothing similar in color.
Disadvantage: If you have problems with halo or shoot-through outlines, this color is noticeable. Reflection of this color on the skin is very unpleasing.
ChromaKey Blue - Preferred by Video Users and Beginners
Advantage: Most photo editing software programs can easily recognize chromakey blue, making post-production quick and easy. If you have problems with halo or shoot-through outlines, this color is least noticeable, making it a better choice for beginners.
Disadvantage: If your subject is wearing the same color, your computer may key out their clothing. You will need to adjust lighting to brighten or darken of the background, causing a different shade.
Digital Key green – Name does not imply that it is the only backdrop for digital use. This color is a very bright, fluorescent green.
Advantage: Beneficial if you have very limited or no dedicated lighting for the backdrop; since it is already a brighter, fluorescent color, it requires less lighting.
Disadvantage: If you have problems with halo or shoot-through outlines, this color is most noticeable.
Lighting:
2 most common setup mistakes:
• Uneven backdrop lighting
• Reflected spill onto the foreground subject.
Any professional lights will work, strobes, monolights or continuous lights.
A) Lighting the Backdrop:
• Backdrop lighting should be even and consistent; no “hot spots”, shadows or fall-off. Accomplished by diffused light modifiers such as umbrellas or softboxes. An ideal setup would be 2-3 dedicated lights for large backdrops – one on each side and one shining down. For smaller backdrops, and beginners, one light can be used if placed strategically.
• Backdrop light(s) should be positioned behind the subject (so as not to cast shadows).
B) Light The Foreground / Subject:
• Your subject also needs dedicated lights. Light your subject as you normally would for a traditional photograph, with a main, fill, hairlight, etc.
• The addition of a diffused light from above and behind (on a boom or mounted from the ceiling), or floor level from each side, with a diffusion source (such as a HalfDome) shining back onto your subject, will help minimizes the ugly blue or green “halo effect" from light that is reflected off the chromakey backdrop (called reflective spill). You may need a gobo to prevent light spill into your lens causing lens flare. Again, these are not required, but they help in an ideal setup.
C) Check meter readings:
When the screen is lit, view the screen with a spot meter and check for uniformity. The screen should be within 1/5 stop tolerances in all visible areas.
D) - Neutralize Reflections:
• Look for any reflective or metallic items in the image that may be reflecting the blue or green, such as chrome, sequins, glasses, jewelry etc.; unmodified, you will inadvertently key these items out also. Use dulling spray (found in our Seamless Paper, Gaffer’s Tape, and Paint department) or shield the object from background reflections to avoid this.
Subject Positioning
• Ideally, the subject should be at least 6 feet or more from the background depending on your setup, this is to allow adequate space for background lighting separation from foreground lighting, as described above. That does not mean you have to be this far away, but it helps. You can stand or lay on the backdrop, just adjust lighting to prevent color reflections on skin and clothing (especially white clothes!).
• DO NOT use: Low Contrast, Fog, Diffusion, Super Frost Filters or smoke when shooting blue/green screen, as this will give you uneven color ranges for the background.
A word of advice
Digital compositing is an art, just as photography is. There is a learning curve involved, as with any new technology. The greatest learning curve will be in your competence with the software you are using to edit and composite the images (such as PhotoShop). The more you know about PhotoShop, the better your images will look, because this is where the art takes place in the digital world. Beginners often experience fake looking composites, with the person “floating” on the background, which is caused by lack of planning. The background needs to “go with” your composite image. The lighting needs to match that in the background (or you can alter the lighting effects in PhotoShop.
There is no ONE correct way to do everything, there will be a number of variables that change with your camera, lighting style and equipment, studio space available, subject matter and proximity to the backdrop, and even what lens you use. Trial and error are the secrets to learning what works for YOU. The best thing to do is practice, practice, and practice.
Our muslin backdrops are shipped folded so that they can ship USPS and FedEx, otherwise, we can ship them rolled by truck freight for an additional charge (must request before ordering- freight charges will vary). You will need to steam, iron, or use our wrinkle-out spray (sold separately) before the first use. These backdrops are not intended for use outdoors or in front of windows or other large light sources. We have heavyweight muslins and blackout materials available in our store if you have poor lighting conditions.
You can spray-starch the backdrops to make them flat like seamless paper.
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